Sounds From The Other City

February 12, 2013

Latest names announced for SFTOC 2013

We thought we’d leave it a week for the drama and hype to die down following our last couple of announcements – but we’re back again, this time breaking news of some of what you can expect from the two newcomers to SFTOC – Buried Bones and Slip Discs. Both will be bringing their unique charms to the festival for the first time, and judging by their line-ups so far, we are not to be disappointed. Without further ado…


“Fans of Will Oldham and Bill Callahan will find much to admire in the work of MC Taylor, a revivalist who also lectures in folklore.” – The Guardian

“You either fully embrace Fahey– like, say, the late Jack Rose– or you run the other way, like Ben Chasny with his work as Six Organs of Admittance. A middle ground exists, certainly, but it’s rarely been claimed with the grace and elocution of Behold the Spirit, the debut from young Nashville guitarist William Tyler. Arguably the most vital, energized album by an American solo guitarist in a decade or more, it accepts Fahey’s legacy while escaping its shadow. Moreover, it’s simply a joy to hear”, Pitchfork

“At first, you might think you’ve got Nick pegged as a psych guitarist with stock moves, but listen for a few minutes and you’ll suddenly wonder where the hell you are. The answer is swirling around you. Repetition and variation are key motifs, and there’s a dizzying brilliance at work here, with ever circling riff layers turning perceptions inside out until all that remains is pure joy”, Foxy Digitalis


“Larry Goves’s Things that are blue, things that are white, things that are black was… a tour de force in two ways. There was the virtuosity of the players… and there was the virtuosity of Goves’s score, which built up an orchestral embarras de richesses in many layers, with sounds from several key players looped and transformed by electronics. In the central section yet another element was thrown in – some ingenious animation projected on a screen from Jesse Collett and Myroslava Sayeed. The piece was engrossing for every moment of its 35 minutes”, The Telegraph

“The most striking piece was based on a different artist: three black moons by Ian Vine takes its title from an Alexander Calder mobile, its magical floating sonorities had a Feldmanesque beauty”, The Guardian